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#frenchart — Public Fediverse posts

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  1. Émile Vernon: Romantic French Artist of the Belle Époque

    📰 Original title: Émile Vernon: Master of Romantic French Art

    🤖 IA: It's not clickbait ✅
    👥 Users: It's not clickbait ✅

    View full AI summary en.killbait.com/emile-vernon-r

    #culture #frenchart #romanticstyle #belleepoque

  2. Woman before an Aquarium -- Henri Matisse -- 1921–23 -- Art Institute of Chicago -- Public domain

    #Art #Matisse #FrenchArt #Painting #1920s #France

  3. Woman before an Aquarium -- Henri Matisse -- 1921–23 -- Art Institute of Chicago -- Public domain

    #Art #Matisse #FrenchArt #Painting #1920s #France

  4. French Painter Jean Geoffroy’s Realistic Depictions of Childhood and Public Education

    📰 Original title: Jean Geoffroy: The Painter of Childhood and Schools

    🤖 IA: It's not clickbait ✅
    👥 Users: It's not clickbait ✅

    View full AI summary: en.killbait.com/french-painter

    #culture #jeangeoffroy #frenchart #childhood

  5. French Painter Jean Geoffroy’s Realistic Depictions of Childhood and Public Education

    📰 Original title: Jean Geoffroy: The Painter of Childhood and Schools

    🤖 IA: It's not clickbait ✅
    👥 Users: It's not clickbait ✅

    View full AI summary: en.killbait.com/french-painter

    #culture #jeangeoffroy #frenchart #childhood

  6. Paul Gauguin-tegninger ophængt 🔨
    Franske Paul Gauguin (1848-1903) var både produktiv og kunstnerisk progressiv – og boede i øvrigt en overgang i Nørregade i København.
    Vi har lige ophængt 18 af hans træsnit fra forrige århundredeskift i udstillingen 'Fransk Kunst 1900-1930' 🇫🇷

    👨‍🎨 Paul Gauguin i museets samling: open.smk.dk/art?q=*&filters=cr

    #paulgauguin #frenchart #dkmuseum

  7. Paul Gauguin-tegninger ophængt 🔨
    Franske Paul Gauguin (1848-1903) var både produktiv og kunstnerisk progressiv – og boede i øvrigt en overgang i Nørregade i København.
    Vi har lige ophængt 18 af hans træsnit fra forrige århundredeskift i udstillingen 'Fransk Kunst 1900-1930' 🇫🇷

    👨‍🎨 Paul Gauguin i museets samling: open.smk.dk/art?q=*&filters=cr

    #paulgauguin #frenchart #dkmuseum

  8. Jean Veber: 'The Devil In The Marmite' (1914). That's the thing with the Devil: you either love him or you hate him. I'm not sure whether this is a portrait of two of the artist's friends or something satirical, since Veber was mainly a caricaturist. #Devil #Marmite #FrenchArt #artsky

  9. Plum Brandy -- c. 1877 -- National gallery of Art, Washington D.C.

    Edouard Manet

    A favourite picture of mine. I've probably posted it before, but no matter, because I never tire of it, and I hope that you don't either.

    #Art #FrenchArt #19thCenturyArt #Manet #PlumBrandy

  10. Plum Brandy -- c. 1877 -- National gallery of Art, Washington D.C.

    Edouard Manet

    A favourite picture of mine. I've probably posted it before, but no matter, because I never tire of it, and I hope that you don't either.

    #Art #FrenchArt #19thCenturyArt #Manet #PlumBrandy

  11. Daniel Urrabieta Vierge -- Woman Smoking a Cigarette -- Etching -- 1888 -- Art Institute of Chicago -- Public Domain

    #Art #Print #Etching #Smoking #Cigarette #FrenchArt #19thCenturyArt

  12. Daniel Urrabieta Vierge -- Woman Smoking a Cigarette -- Etching -- 1888 -- Art Institute of Chicago -- Public Domain

    #Art #Print #Etching #Smoking #Cigarette #FrenchArt #19thCenturyArt

  13. 🧵 1/2

    Nicholas Poussin -- Rinaldo and Armida -- 1628/30 -- Dulwich Picture Gallery

    >> The subject of the painting comes from the 1581 epic poem Gerusalemme Liberata by Torquato Tasso (1544-95). The poem is set at the time of the First Crusade, at the end of the eleventh century, and follows the tale of fighting Christians and Saracens. In this scene, the Saracen sorceress Armida moves to kill the sleeping crusader Rinaldo. Just as she is about to strike, however, she falls in love with the Christian hero. << (Dulwich Picture Gallery)

    I've been engrossed in Richard Wollheim's account of this picture in "Painting as an Art". I won't attempt here to summarize his argument, but will instead jump to his conclusion, "that for Poussin the victory of reason over concupiscence is achieved through reason borrowing the resources of concupiscence. For him the defeat of desire by reason is experienced as the victory of one kind of desire over another."

    This understanding of the picture is close to my own approach to thinking about ethics and value, one that owes much to Hume's description of reason as a slave to the passions. Wollheim, however, does not present an argument about metaethics; instead, he invites us join with him at looking deeply into the picture and follow his argument about how we see a picture, how a knowledge of other pictures might help us better understand this one, and how the picture can be both informed by an understanding of psychology and also enrich that understanding.

    Some of Wollheim's claims in "Painting as an Art" strike me as tenuously supported conjectures, but his attention to the paintings themselves always excites me. His writing makes me long to go back to the pictures themselves, this stimulus being a sign of good writing about art.

    I've written about a closely related scene from Tasso before as represented by....

    #Art #Painting #NicholasPoussin #FrenchArt #17thCenturyArt #RinaldoAndArmida #Tasso #GerusalemmeLiberata #RichardWollheim #PaintingAsAnArt

  14. 🧵 1/2

    Nicholas Poussin -- Rinaldo and Armida -- 1628/30 -- Dulwich Picture Gallery

    >> The subject of the painting comes from the 1581 epic poem Gerusalemme Liberata by Torquato Tasso (1544-95). The poem is set at the time of the First Crusade, at the end of the eleventh century, and follows the tale of fighting Christians and Saracens. In this scene, the Saracen sorceress Armida moves to kill the sleeping crusader Rinaldo. Just as she is about to strike, however, she falls in love with the Christian hero. << (Dulwich Picture Gallery)

    I've been engrossed in Richard Wollheim's account of this picture in "Painting as an Art". I won't attempt here to summarize his argument, but will instead jump to his conclusion, "that for Poussin the victory of reason over concupiscence is achieved through reason borrowing the resources of concupiscence. For him the defeat of desire by reason is experienced as the victory of one kind of desire over another."

    This understanding of the picture is close to my own approach to thinking about ethics and value, one that owes much to Hume's description of reason as a slave to the passions. Wollheim, however, does not present an argument about metaethics; instead, he invites us join with him at looking deeply into the picture and follow his argument about how we see a picture, how a knowledge of other pictures might help us better understand this one, and how the picture can be both informed by an understanding of psychology and also enrich that understanding.

    Some of Wollheim's claims in "Painting as an Art" strike me as tenuously supported conjectures, but his attention to the paintings themselves always excites me. His writing makes me long to go back to the pictures themselves, this stimulus being a sign of good writing about art.

    I've written about a closely related scene from Tasso before as represented by....

    #Art #Painting #NicholasPoussin #FrenchArt #17thCenturyArt #RinaldoAndArmida #Tasso #GerusalemmeLiberata #RichardWollheim #PaintingAsAnArt

  15. Léon BONNAT

    Bayonne 1833 - 1922 Monchy-Saint-Éloi

    Portrait of Loulia Cahen d’Anvers, née Rosalie Louise Loulia Warschawsky -- 1891 -- Oil on Canvas

    This portrait hangs in the newly reopened Musée Bonnat-Helleu in Bayonne , France.

    I'd love to go there.

    #MuséeBonnatHelleu #LéonBonnat
    # LouliaCahenDAnvers #Portrait #Art #Painting #FrenchArt #19thCentury

  16. Léon BONNAT

    Bayonne 1833 - 1922 Monchy-Saint-Éloi

    Portrait of Loulia Cahen d’Anvers, née Rosalie Louise Loulia Warschawsky -- 1891 -- Oil on Canvas

    This portrait hangs in the newly reopened Musée Bonnat-Helleu in Bayonne , France.

    I'd love to go there.

    #MuséeBonnatHelleu #LéonBonnat
    # LouliaCahenDAnvers #Portrait #Art #Painting #FrenchArt #19thCentury

  17. Robert Nanteuil -- Portrait of Cardinal Mazarin -- 1660 -- Engraving -- Cleveland Museum of Art -- In memory of Mr. and Mrs. Ralph King -- Public Domain

    #RobertNanteuil #Art #Portrait #Print #Engraving #FrenchArt #17thCenturyArt #CardinalMazarin

  18. Robert Nanteuil -- Portrait of Cardinal Mazarin -- 1660 -- Engraving -- Cleveland Museum of Art -- In memory of Mr. and Mrs. Ralph King -- Public Domain

    #RobertNanteuil #Art #Portrait #Print #Engraving #FrenchArt #17thCenturyArt #CardinalMazarin

  19. The Three Witches from 'Macbeth' in a striking portrait by the French 19th century painter Alexandre-Marie Colin. #31DaysOfHalloween #Shakespeare #witch #witches #witchcraft #artsky #FrenchArt

  20. The intricate façade of the Château de Saint-Cloud by Ernest Eléonor Pierre Lamy transports us to the elegance of 19th-century France. The architectural details are simply mesmerizing. What emotions does this piece evoke for you?
    #Art #Rijksmuseum #Architecture #FrenchArt
    rijksmuseum.nl/nl/collectie/RP

  21. A glimpse into the grandeur of past celebrations at the Château de Saint-Cloud, captured in this enchanting artwork. The intricate details invite us to imagine the festivities that unfolded. What stories might this scene hold?

    #Rijksmuseum #ArtHistory #FrenchArt
    rijksmuseum.nl/nl/collectie/RP

  22. The facade of the Château de Saint-Cloud, captured masterfully by Ernest Eléonor Pierre Lamy, showcases the elegance of French architecture in the 19th century. What feelings does this artwork evoke for you?
    #Rijksmuseum #ArtHistory #FrenchArt
    rijksmuseum.nl/nl/collectie/RP

  23. The exquisite "Salon van Mercurius" by Ernest Eléonor Pierre Lamy captures the splendor of the Saint-Cloud castle, blending elegance with history. How does this piece transport you to 19th-century France?

    #Rijksmuseum #ArtHistory #FrenchArt
    rijksmuseum.nl/nl/collectie/RP

  24. François Louis Couché's "Gezicht op het Kasteel van Saint-Cloud" beautifully captures the elegance of early 19th-century architecture, reflecting tranquility and grandeur. How does this work resonate with your personal view of historical sites?
    #Rijksmuseum #ArtAppreciation #FrenchArt
    rijksmuseum.nl/nl/collectie/RP

  25. "Pot of Flowers," Édouard Vuillard, c. 1900-01.

    Vuillard and his Nabi cohorts are great favorites of mine. I take great delight in Vuillard's work; his love of pattern and skill in depicting it appeal to me greatly. I remember just standing in awe in front of one of his paintings at the Met, to the point that the security guards were starting to eye me suspiciously...

    The Nabis loved intimate scenes, and this fits. What's a standout is that this isn't a formally arranged still life...it's just a scene from his studio, painted as is, almost like a casual photograph.

    First #FlowerFriday of 2025!

    From the National Galleries of Scotland, Edinburgh.

    #Art #FrenchArt #LesNabis #EdouardVuillard #FlowerFriday

  26. "Pot of Flowers," Édouard Vuillard, c. 1900-01.

    Vuillard and his Nabi cohorts are great favorites of mine. I take great delight in Vuillard's work; his love of pattern and skill in depicting it appeal to me greatly. I remember just standing in awe in front of one of his paintings at the Met, to the point that the security guards were starting to eye me suspiciously...

    The Nabis loved intimate scenes, and this fits. What's a standout is that this isn't a formally arranged still life...it's just a scene from his studio, painted as is, almost like a casual photograph.

    First #FlowerFriday of 2025!

    From the National Galleries of Scotland, Edinburgh.

    #Art #FrenchArt #LesNabis #EdouardVuillard #FlowerFriday

  27. "Still Life, or, La Table Garnie," Henri Fantin-Latour, 1866.

    Fantin-Latour (1836-1904) was a Realist in the period of Impressionism. Although that may make him seem out-of-step and stuffy, he wasn't.

    He produced a series of self-portraits early in his career, but in the 1860s began to focus mostly on still lifes, like this one. This was partly because they showed his strengths at depicting color and texture, but also, like Impressionism, it was a rebellion against the academic standards of art (that one must follow the classical masters, and that art should focus on historical, religious, or mythical themes, and have Meaning), that held still lifes in disdain and considered them a minor genre. And despite not being an Impressionist, he still exhibited with his friends Manet, Monet, and Renoir. So while his still lifes may seem rather conventional and conformist to modern eyes, in context they were actually rebellious and avant-garde.

    So, enjoy these flowers as an act of rebellion!

    From the Museu Calouste Gulbenkian, Lisbon.

    #Art #FrenchArt #Realism #HenriFantinLatour #FlowerFriday #StiiLife #Rebellion